Smarr Publishers
English
for
Classical Studies
A Student’s Companion to
World War I
British Poets
by Robert W. Watson
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World War I British Poets / 1
Introduction to World War I British Poets
T
HE poems you will read in this study will not glorify war at all. World War I brought
with it a disillusionment of the accepted belief in the innate goodness of mankind, and
soon writers began to abandon the romantic themes of optimism to dwell on
pessimism. You will see this theme of pessimism expressed as the loss of pastoral and rural
innocence, which is now replaced by a mechanical barrenness. Later, the modern writers will
recognize this barrenness in social and spiritual affairs, but will try to solve the moral dearth by
offering socialism as the answer.
Warfare prior to the War for Southern Independence, which arguable was the first “modern”
war, was conducted under a code of honor. Seldom were men killed by firearms, but by handto-hand combat. Battle with one’s enemy was truly a personal conflict, with man pitted against
man. The brave and daring were respected, and the horror of war was seen directly in the eyes
of the soldier slain. However, with the invasion of the Confederate States of America, war
became more impersonal, even though there was still a lot of close-quarters fighting. With the
industrial revolution came the “innovations” that ensured more bloodshed. In addition to
improved rifles, cannons, communications, and transportation, Lincoln’s army developed the
concept of “total war,” where civilians and non-combatants were to be terrorized by soldiers.
Warfare as a conflict between honorable men died during the subjugation of the Confederate
States of America. The lessons learned by the Union army during this war was then applied to
the utter defeat of the Indian nations in the late nineteenth century.
The other countries around the world soon patterned their strategies after those of the Union
army. Non-military targets became legitimate objectives to be destroyed. Civilians could be
killed and their property stolen without anyone losing any sleep. And with the advance in
technology, thousands of people could be killed by only one man, who did not even have to see
the faces of the people whom he was killing. The United States of America has continued its
tradition of “total war,” when in World War II it sent over 250,000 civilians into eternity with
just two bombs.
The poets in this study will severely question the notion of patriotism as well. A nation is not
the same as a State. A nation is composed of people with a commonality of purpose united by a
common culture and heritage. On the other hand, the State is an external contrivance that forces
different nations and provinces together under a centralized government. With the advent of the
State during the seventeenth century, central governments tried to unite the different cultures
within their power with a false “nationalism.” What many people mistake as patriotism is really
a sentimentalism that allows civil governments to consolidate more power over a people.
Warfare has become extremely brutal and very callous, because government under the State has
become impersonal, where death is considered “an acceptable loss.” When killing innocents is
regarded as “collateral damage,” this is indicative of a society that has not a bit of Christian
charity left.
For the Christian, the call to arms requires a careful evaluation of his values and beliefs. The
Christian does not have the luxury of following the course of public opinion; he must do right,
regardless of the majority’s opinion. The Bible is quite clear in the matter of killing other
human beings: Thou shalt not kill, and thou shalt love thy enemy. Yet the State has the police
power to coerce a Christian to either violate his conscience or to suffer the consequences for
resisting the State. Thus, the Christian’s relationship as a citizen of a State is tested during times
of war. It is hoped that this study of the poetry about the “War to End All Wars” will cause the
student to search the Scriptures for a better understanding of his relationship with his God and
with the civil government. The reason why there is a conflict between the Christian’s faith and
2 / World War I British Poets
his obedience to the State is because the State has usurped the place of God, being no longer a
ministry of justice as God intended for the civil government. Thus, the Christian must earnestly
undertake the task to determine what obligations he rightfully owes to the civil government and
what he owes to God.
ROBERT W. WATSON
World War I British Poets / 3
World War One British Poets
Lesson One
1.1 Vocabulary
decadent adj.
serene adj.
dearth n.
radiant adj.
1.2 Vocabulary Recognition
1. The landscape used to be peaceful, ____________, and quiet, but the war has changed the
land to one of confusion and terror.
2. Being on the front lines for nearly three years, the soldier could vaguely remember his
wife’s _________ smile, which always brightened his days in the past.
3. While the daily rations of food were scant, the constant bombardment proved there was no
_____________ of ammunition.
4. A society that is ___________ and lacking morals is seldom prepared to defend itself, since
issues of self-defense are considered trivial to such a society.
1.3 Reading Assignment: World War One British Poets, pages 1–4
1.4 Recall Questions
1. What is the only thing that can “shake the laughing heart’s long peace,” and why is this
thing not so bad?
2. According to the poet, who is the worst enemy on the battlefield?
3. The poet lists ten things that are “undying.” What are these ten things?
4. The poet states that “We have gained a peace unshaken by pain for ever.” What peace is the
poet referring to?
5. What is the “unhoped serene” that is referred to by the poet?
6. According to the poet, what five things ended the “dearth” when they were called forth by
the bugles?
7. In Sonnet IV, who is “he” that is referred to in line 12?
8. According to the poet, what is the “richer dust” that is concealed in the soil of a foreign
land?
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9. What is contained in the “scented store”?
1.5 Critical Thinking

Does Brooke glorify war? Why or why not?

Is Brooke correct when he asserts that freedom is something that is undying? Why or why
not?

Support or criticize the following statement: “Dying in battle is a blessing for young men.”
Refer to Sonnet III.

Identify and discuss the imagery (that which affects the senses) found in “The Treasure.”
1.6 Bonus Thoughts

Brooke and Fabian Socialism: While in college, Brooke became associated with the
Fabian Socialists, a group of upper-middle class intellectuals who emerged in 1884 as the
British counterpart of the German Marxian revisionists. This group was to be known as the
“Fabian Society” and became known through Sidney Webb’s Facts for Socialists (1884)
and then through the famous Fabian Essays in Socialism (1889). The Fabians were named
after Fabius, the famous Roman general who opposed Hannibal. Like Fabius, the Fabians
waited patiently until they could “strike hard.” Of course, when to strike was the recurring
issue. Rejecting the revolutionary tactics of most Marxists, the middle-class Fabians chose
to be more directly involved in politics and to make practical gains through conventional
means such as labor unions and cooperative movements.

Poetic License: A good example of poetic license appears when Brook uses serene as a
noun. Poetic license allows the poet to violate the ordinary norms of speech and literal truth.
World War I British Poets / 5
World War I British Poets
Lesson Two
2.1 Vocabulary
pervade v.
perceive v.
rue n.
lilt n.
2.2 Vocabulary Recognition
1. The soldiers serving on the front lines often reflected upon death, which ___________(d) all
of their daily activities and the surrounding environment.
2. As he sat with his hands on his head, the soldier was quiet, because his ________ was great,
mourning the lost of his friends.
3. All at once, a lark appeared near the soldiers, singing with a merry ________ that easily
gladden the hearts of the tired men.
4. The lieutenant ____________(d) the orders were in error and immediately notified his
commander officer.
2.3 Reading Assignment: World War One British Poets, pages 5–7
2.4 Recall Questions
1. What physical impairment does the poet give to both England and Germany?
2. According to the poet, why should no one praise the dead soldier?
3. According to the poet, why should no one cry for the dead soldier?
4. What is the meaning of “when you are sleeping”?
5. What are the soldiers “marching to” which they are to think about?
6. In what ways can earth “store / All the gladness that you pour”?
7. According to the poet, where does the earth gets its joy and gladness?
8. According to the poet, even “when foot / Lies numb and voice mute,” what will the earth
still echo?
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2.5 Critical Thinking

Discuss whether war leads to a warming of relations between former enemies during peace.

Discuss whether Sorley’s “Route March” has a tone that is sincere or sarcastic.

Support the following statement: “Dying is easy. It is living that requires courage.”
2.6 Bonus Thoughts

War and Peace: Sorley points out that soldiers are really victims of their respective States.
For some odd reason, politicians have the irrational desire to align their countries against
each other by joining one alliance or another. Regardless of his nationality or country, the
common citizen desires peace and wants freedom to provide for his family. During normal
times, citizens of all countries get along tolerably well, can laugh with each other, and
express sincere friendship, so long as everyone minds his own business. But as soon as a
war begins (due to the entangling alliance with other nations), these peaceful citizens are
drafted by the politicians, given weapons, and ordered to kill the “enemy.” However, the
enemy also happens to be a peaceful fellow who has a wife, children, hopes, and dreams as
well. He too is drafted by his State politicians, and told to kill. Now he must kill another
human being, a person who did nothing against him personally. In fact, the “enemy” soldier
may very well be a Christian himself. Killing in order to defend one’s home and family is
one thing. However, from a Biblical perspective, the Christian must either resist the State
(which has assumed the role of God) and refuse to participate in the killing; or otherwise,
the Christian must violate his conscience and justify his killing other human beings like
Alvin York did, when he decided that he must kill other men in order to save lives. Caesar
surely creates some interesting paradoxes.

Hemlock for Socrates: An allusion is made to the famous death of Socrates. Considered to
be one of the earliest philosophers, Socrates served Athens as a soldier, and after receiving a
small inherence from his father, he chose to become a teacher. After opening his school,
The Academy, Socrates received criticism from parents due to his teachings. In addition to
this, the philosophy had made enemies with the government as a result of some of his
political ideas. Eventually, Socrates was accused of “corrupting the youth” and was
sentenced to death by the Athenian government. Facing death calmly, Socrates takes his
own life by drinking a bowl of extract from the poison hemlock.
“The Death of Socrates” by Jacques-Louis David (1787)
World War I British Poets / 7
World War I British Poets
Lesson Three
3.1 Vocabulary
impetus n.
din v.
athwart adv.
melancholy adj.
3.2 Vocabulary Recognition
1. When Archduke Ferdinand was killed by a Serbian nationalist, the assassination was the
______________ needed to begin World War I.
2. The letter from his parents contained only bad news, which added to the ______________
mood of the young soldier.
3. The constant _________ coming from the firing of rifles and cannons would cause even the
soundest of minds to go insane from the noise.
4. The disagreement between the two generals ____________ any decision to move the troops
forward to meet the enemy.
3.3 Reading Assignment: World War One British Poets, pages 8–11
3.4 Recall Questions
1. According to the poet, what is the purpose of extreme nationalism when one hates one
country and loves his own?
2. Why does the poet admit that he is one of the first to cry, “God save England”?
3. What were the sounds that the poet heard as the train stopped at Adlestrop?
4. In “Tears,” what pierces the solitude and silence?
5. In “The Private,” what was the occupation of the dead soldier before he went to war?
6. What does the poet mean when he states, “And where now at last he sleeps / More sound in
France—that, too, he secret keeps”?
7. In “As the Team’s Head Brass,” what was in the path of the farmer that required his
plowing around it?
8. According to the poet, what could he spare to lose in the war?
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9. Why does the farmer say that there are only two teams to work the farm now?
3.3 Critical Thinking

In his poem “This is no case of petty right or wrong,” does Thomas identify the reasons why
nations war against each other? If so, what are they?

Explain how an owl is an appropriate symbol for war and death.

Argue that “they” in the farmer’s statement, “The second day / In France they killed him,”
could refer to either enemy soldiers or the British government.
3.4 Bonus Thoughts

Artists’ Rifles: Thomas joined the Artists’ Rifles, a regiment that attracted poets and artists.
This regiment was a volunteer unit that became reactivated in London after the outbreak of
the war. Paul Nash writes in a letter to Gordon Bottomley on September 27, 1914, “I have
joined the Artists’ London Regiment of Territorials the old Corps which started with
Rossetti, Leighton and Millais as members in 1860. Every man must do his bit in this
horrible business so I have given up painting. There are many nice creatures in my company
and I enjoy the burst of exercise—marching, drilling all day in the open air about the
pleasant parts of Regents Park and Hampstead Heath.”

Adlestrop: As a small village in Gloucestershire east of Stow-on-the-Wold and bordering
on Oxfordshire, Adlestrop had a train station where the troop trains stopped. Thomas
referred to the village in his notebook and wrote this poem from his notes.

An Entry from Thomas’s Diary: 23 February 1917—Chaffinch sang once. Another dull
cold day. Inspected stables, checked inventory of new billet for men in Rue Jeanne d'Arc,
went with Colonel round 244, 141 and 234 positions and O.P. in Achicourt. Afternoon
maps. Partridges twanging in fields. Flooded fields by stream between the 2 sides of
Achicourt. [R]uined churches, churchyard and railway. Sordid ruin of Estaminet with
carpenter's shop over it in Rue Jeanne d'Arc—wet, mortar, litter, almanacs, bottles, broken
glass, damp beds, dirty paper, knife, crucifix, statuette, old chairs. Our cat moves with the
Group wherever it goes, but inspects new house inside and out, windows, fireplace etc. Paid
the Pool gunners (scrapings from several batteries doing odd jobs here). 2 owls in garden at
6. The shelling must have slaughtered many jackdaws but has made home for many more.
Finished [Robert] Frost’s ‘Mountain Interval’. Wrote to Frost. A quiet still evening. Rubin
brought over letters from Helen [Thomas’s wife] and Oscar [Thomas’s brother].

Georgian school: The Georgian school comes from a series of anthologies produced by
several English poets during the reign of George V of Great Britain.
 The Phoenix Bird by Hans Christian Andersen (1850): In the Garden of Paradise, beneath
the Tree of Knowledge, bloomed a rose bush. Here, in the first rose, a bird was born. His
flight was like the flashing of light, his plumage was beauteous, and his song ravishing. But
when Eve plucked the fruit of the tree of knowledge of good and evil, when she and Adam
were driven from Paradise, there fell from the flaming sword of the cherub a spark into the
nest of the bird, which blazed up forthwith. The bird perished in the flames; but from the red
egg in the nest there fluttered aloft a new one—the one solitary Phoenix bird. The fable tells
that he dwells in Arabia, and that every hundred years, he burns himself to death in his nest;
but each time a new Phoenix, the only one in the world, rises up from the red egg.
World War I British Poets / 9
The bird flutters round us, swift as light, beauteous in color, charming in song. When a
mother sits by her infant’s cradle, he stands on the pillow, and, with his wings, forms a
glory around the infant’s head. He flies through the chamber of content, and brings sunshine
into it, and the violets on the humble table smell doubly sweet.
But the Phoenix is not the bird of Arabia alone. He wings his way in the glimmer of the
Northern Lights over the plains of Lapland, and hops among the yellow flowers in the short
Greenland summer. Beneath the copper mountains of Fablun, and England’s coal mines, he
flies, in the shape of a dusty moth, over the hymnbook that rests on the knees of the pious
miner. On a lotus leaf he floats down the sacred waters of the Ganges, and the eye of the
Hindoo maid gleams bright when she beholds him.
The Phoenix bird, dost thou not know him? The Bird of Paradise, the holy swan of song! On
the car of Thespis he sat in the guise of a chattering raven, and flapped his black wings,
smeared with the lees of wine; over the sounding harp of Iceland swept the swan’s red beak;
on Shakspeare’s shoulder he sat in the guise of Odin’s raven, and whispered in the poet’s
ear “Immortality!” and at the minstrels’ feast he fluttered through the halls of the Wartburg.
The Phoenix bird, dost thou not know him? He sang to thee the Marseillaise, and thou
kissedst the pen that fell from his wing; he came in the radiance of Paradise, and perchance
thou didst turn away from him towards the sparrow who sat with tinsel on his wings.
The Bird of Paradise—renewed each century—born in flame, ending in flame! Thy picture,
in a golden frame, hangs in the halls of the rich, but thou thyself often fliest around, lonely
and disregarded, a myth—“The Phoenix of Arabia.”
In Paradise, when thou wert born in the first rose, beneath the Tree of Knowledge, thou
receivedst a kiss, and thy right name was given thee—thy name, Poetry.
10 / World War I British Poets
World War I British Poets
Lesson Four
4.1 Vocabulary
anthology n.
precocious adj.
sardonic adj.
gargantuan adj.
4.2 Vocabulary Recognition
1. The taking of “No-man’s Land” proved to be not just a _____________ task or huge
undertaking, but an impossible one.
2. Even though being a _____________ child who studied Latin by the time he was five years
old, the young soldier found difficulty trying to reconcile his peaceful and carefree
childhood with his new experiences in the military.
3. The latest _________________ of poems reflected the various poets views about the war,
some approving and others disapproving.
4. The ______________ light of the full moon seemed to mock the soldiers as they made their
way across the the landscape, trying to conceal themselves from the brightness.
4.3 Reading Assignment: World War One British Poets, pages 12–17
4.4 Recall Questions
1. In the poem, “In Flanders Fields,” what sound is “[s]carce heard amid the guns below”?
2. In the poem, “Break of Day in the Trenches,” what bites the speaker’s hand?
3. Why are the poppies “ever dropping”?
4. Where does the speaker place his poppy?
5. In “Louse Hunting,” how does “Yon soldier” create enough light in order to find the lice?
6. What is the meaning of “See gargantuan hooked fingers / Pluck in supreme flesh / To
smutch supreme littleness”?
7. In “Returning, We Hear the Larks,” what could drop “As easily as song” from the larks?
8. In “Dead Man’s Dump,” what is the meaning of “the swift iron burning bee”?
9. What caused the stretcher-bearer to drop the wounded soldier whom he was carrying?
World War I British Poets / 11
10. How does the wounded soldier in the last two stanzas die?
4.5 Critical Thinking

McCrae challenges others to “Take up our quarrel with the foe!” Discuss how one
determines who is one’s foe, both foreign and domestic. How should the Christian respond
to his foes?

Regarding killing of other people, is there a conflict of duties between obeying the Bible
and obeying the State? Why or why not?

In his “Dead Man’s Dump,” does Rosenberg portray soldiers to be callous? Does it matter
how one treats the dead? Why or why not?

For the Christian, is there a difference between his serving in an army that is an aggressor
and one that is merely defending the homeland from an aggressor? If so, are aggressors then
murderers, and not soldiers? Why or why not?
4.6 Bonus Thoughts

No-Man’s Land: Usually the image conjured up in our minds when we think of World War
I is miles and miles of trenches. This network of ditches on both sides represents the
stalemate that was created by this defensive policy, and as a result, trench warfare was
abandoned as a viable tactic in subsequent wars. From the North Sea to the border of
Switzerland, each army had a series of trenches for communication, for support, and for
advance observation. Between the two frontline trenches existed the deserted No-Man's
Land that often was a half mile wide, or at times was only twenty-five yards. Neither army
advanced more than a few miles during the course of the entire war. As for the living
accommodations in the trenches, the troops endured appalling conditions. There was snow
and frozen ground during winter, and there was deep mud during the rain seasons in spring
and fall. Rats, flies, lice, and diseases visited during the summer. As if this were not enough
misery, the soldiers suffered from artillery bombardments, constant sniping, enemy attacks,
and the foolish going over the top, in order to attack the trenches of the opposing army.
Isaac Rosenberg mentioned the experience of the trenches in his letter of June 1916 to a
Miss Seaton: “We made straight for the trenches, but we’ve had vile weather, and I’ve been
wet through for four days and nights. I lost all my socks and things before I left England,
and hadn’t the chance to make it up again, so I’ve been in trouble, particularly with bad
heels; you can’t have the slightest conception of what such an apparently trivial thing
means. We’ve had shells bursting two yards off, bullets whizzing all over the show, but all
you are aware of is the agony of your heels.…”
12 / World War I British Poets
World War I British Poets
Lesson Five
5.1 Vocabulary
hone v.
poignant adj.
posthumous adj.
decimation n.
5.2 Vocabulary Recognition
1. The public reading of the poetry of Wilfred Owen had a ____________ effect upon the
audience with many listeners being moved to tears.
2. In basic training, new soldiers learn the basics of marksmanship, but in advance infantry
training, the soldier _________ his skills as a rifleman.
3. The ceremony awarding the _______________ medal to the parents of the dead soldier was
a very solemn event, one not to be soon forgotten.
4. The Roman officials used _____________ to restore order with mutinous legions by
executing one out of every ten legionnaires.
5.3 Reading Assignment: World War One British Poets, pages 18–27
5.4 Recall Questions
1. According to the speaker in “Arms and the Boy,” what things “long to nuzzle in the hearts
of lads”?
2. In “Greater Love,” what are redder than the lips of the dead soldiers?
3. How does the speaker personify Love?
4. In Stanza 2 of “Insensibility,” what does Dullness solve?
5. In Stanza 3, how does the soldier eventually get rid of the hurt and horror of war?
6. In “Dulce et Decorum Est,” who “plunges” at the speaker?
7. In “Mental Cases,” Memory is given fingers. What do these fingers do and for what reason?
8. According to the speaker in “Futility,” even what is unable to wake up the dead soldier?
World War I British Poets / 13
9. In “Disabled,” there was a time when the young man liked to see blood on his leg. When
were these times?
10. In “Anthem for Doomed Youth,” the young men do not die like men, but as what?
11. In “Strange Meeting,” what is ironic about the line, “I am the enemy you killed, my friend”?
12. In “Apologia,” what is more absurd than death?
13. According to the speaker, what is heaven and hell?
5.5 Critical Thinking

Explain how Owen portrays Death to be a greater lover than Love itself.

According to “Insensibility,” can a Christian love God and his neighbor while participating
in the killing demanded by the State? Why or why not?

Explain how Owen debunks patriotism in “Dulce et Decorum Est.” Do you agree with
Owen? Why or why not?

In “Disabled,” are the supposed reasons why the young man joined the army valid ones?
That is, are any of the reasons worth dying for? Why or why not?
5.6 Bonus Thoughts

Patriotism verses Imperialism: Many people mistake patriotism as a sentimental
emotionalism to support their civil government by not questioning its policies. To give any
government a blank check to “solve” a crisis is not patriotism; it is stupidity. Patriotism is
centered on a love for one’s land and culture. Implied in the meaning of patriotism is one’s
willingness to defend his home and family from aggression. Therefore, no one is a patriot
when he participates in the conquest and destruction of another country or its culture. This
activity is called imperialism, and there is nothing patriotic about it. The modern standing
army is not composed of those who have a extraordinary love for their country, but those
who work for a paycheck, or in other words, they are professional mercenaries. While it
may be a stated mission of the army to protect the country, the actual goal of the army is to
defend the civil government against the citizens of the State. For this reason, the American
founding fathers distrusted standing armies and prohibited them in the Constitution.
However, one of the results of the destruction of constitutional government during the War
between the States was the creation of a permanent standing army of paid professionals,
whose allegiance is to the government, not to the people or to their Constitution.
During times of war, many young men join the armed forces usually on account of
propaganda and a false sense of patriotism. The pressure “to join up” can be enormous, and
many of the British poets, who at first thought they were doing God’s bidding, realized later
that they were deceived. Sometimes there may be justifiable reasons for fighting (for
example, the bombing of Pearl Harbor—although there seems to be evidence that the attack
was orchestrated by Roosevelt’s administration). But for the most part, history has shown
that most wars have been waged not for reasons of patriotism, or even for righting egregious
wrongs, but for money and the expansion of business markets. In short, war is a nasty
14 / World War I British Poets
business (Latin negotium literally meaning the absence of peace), where industrialists get
richer and more powerful politically. The Bible is clear: The love of money is the root of
ALL evil, including wars.
World War I British Poets / 15
World War I British Poets
Lesson Six
6.1 Vocabulary
precarious adj.
exacerbate v.
incendiary adj.
founder v.
6.2 Vocabulary Recognition
1. The citizens of the country were really for war, but the hateful and ___________ statements
by the leader of the other side were enough to send the young men to the recruiting offices.
2. At one point during the battle, the lines of the enemy were being to ____________, but
fresh troops arrived in time to hold the line.
3. The armistice agreed upon by the combatants was a(n) ______________ peace at best,
which later proved to be ineffectual and unworkable.
4. When the railroad facility was bombed and destroyed, the loss only _______________(d)
the problem of getting sufficient food and material to the front lines.
6.3 Reading Assignment: World War One British Poets, pages 28–38
6.4 Recall Questions
1. In “The Silent One,” what does the speaker shoot at when he hears a voice?
2. In “To His Love,” what is the meaning of “that red wet / Thing”?
3. In “The Target,” why does the speaker think that it would be best to die?
4. In “‘In the Pink,’” how was the soldier able to have a drink of rum and tea?
5. According to the soldier, what was the condition of his boots?
6. What is the reason the soldier gives for the continuation of the war?
7. In “A Working Party,” what did the light of the flare reveal?
8. In “They,” what is the bishop’s reply to the men who stated that they all have changed?
9. In “The One-Legged Man,” why does the man state, “Thank God they had to amputate”?
16 / World War I British Poets
10. According to the speaker in “The Troops,” what do the soldiers do to “the livid hours that
grope for peace”?
11. In “The General,” why do the soldiers curse the general’s staff “for incompetent swine”?
12. In “Repression of War Experience,” according to the speaker, what is the “jolly company”?
13. What does the speaker call a “silly beggar”?
14. In “Trench Duty,” what is ironic in the line “I’m wide-awake; and some chap’s dead”?
6.5 Critical Thinking

Explain how the “silent one” could be either the dead soldier or the speaker.

In “A Working Party,” explain how the poet contrasts the personal with the impersonal.

In “Haunted,” explain how is death personified.

In “Repression of War Experience,” explain how the common things in life remind the
speaker of the war, and thus is forever trapped to think about it.
6.6 Bonus Thoughts

War to End All Wars: In his poem, “They,” Sassoon writes, “They lead the last attack /
On Anti-Christ.” Prior to World War I, many people rejoiced in the great advances in
technology and, at least from the British point of view, Christianity was making great
strides in the world. There was a sense that the world would be completely Christianized,
and great optimism was expressed in all human endeavors. When the war began, however,
there was first disbelief that such a thing could happen. Soon the entire conflict was cast as
the final conflict against the forces of evil. The Kaiser was portrayed as the Anti-Christ;
thus victory over the German and Austrian peoples meant the ending of evil. Soon the
rallying slogan was that this war would be “the war to end all wars.” Of course today, we all
know better. There can be no peace until civil governments willingly restrict themselves to
the limits revealed by God in the Bible.

Valhalla: According to Anglo-Saxon legend, whenever warriors were killed in battle, they
would enter the hall called Valhalla where Odin, the chief of the gods, met them. Odin (also
called Woden or Wotan) was not only the protector of courageous warriors in battle, but he
was also the master of wisdom, poetry, and magic. On his shoulders, Odin had two ravens
named Hugin (thought) and Munin (Memory) that flew throughout the world during the day
to reveal to the god everything they saw.

Boche: This term is used as an offensive word for a German. The term is derived from a
French word, caboche, which means cabbage or blockhead.
World War I British Poets / 17
World War I British Poets
Lesson Seven
7.1 Vocabulary
parry v.
filch v.
haunt n.
luscious adj.
7.2 Vocabulary Recognition
1. The men in the infantry company congratulated themselves by eating the cake, which they
___________(ed) from the Engineers.
2. The young soldier was able to ____________ the bayoneted rifle of an enemy soldier in
time to save his friend from certain death.
3. After having to eat cold meals for several days, the hot soup seemed to be the most
_________ and delectable meal the men could ever remember.
4. As he entered into the shell of what used to be a beautiful house, the soldier wondered
whether this place would become a _____________ for all of the dead who died in the
surrounding area.
7.3 Reading Assignment: World War One British Poets, pages 39–49
7.4 Recall Questions
1. According to the speaker in “To Lucasta,” what is the reason for his going to war?
2. In Grave’s version of David and Goliath, why is Goliath able to defeat David?
3. In “When I’m Killed,” what does the speaker call God?
4. In “Letter to S. S. from Mametz Wood,” what does the writer relate primarily in his letter?
5. According to the speaker in “A Dead Boche,” what is the “certain cure for lust of blood”?
6. In “The Next War,” according to the speaker, wars never change except for what?
7. In “Escape,” from what does the speaker escape?
8. What does the speaker feed to Cerberus in “Escape”?
9. In “The Bough of Nonsense,” what do the two Fusiliers compose on the way home?
18 / World War I British Poets
10. In “The Assault Heroic,” what do the foes claim that they killed today?
11. What event awakens the speaker from his sleep (or dream)?
7.5 Critical Thinking

Explain whether Graves believes that God actively determines the outcome of armed
conflict. What does the Bible teach about God’s role in warfare?

In “Not Dead,” explain how nature is used to remind the speaker about David, who was
killed in the war.
7.6 Bonus Thoughts

“To Lucasta On Going to the War”: Robert Graves writes a poem, the namesake by
Richard Lovelace. As a supporter of King Charles I during the civil war between the
Royalists and Puritans in England, Lovelace fought well for the Royalist side. Lucasta was
Lucy Sacherverall, whom Lovelace intended to marry. But Miss Sacherverall received the
erroneous report that Lovelace was killed in battle and married someone else. While
Lovelace states that the reason he went to war was because he loved honor, Graves states
that the reason anyone goes to war is because of a false pride.
To Lucasta, Going to the Wars
Richard Lovelace
Tell me not, sweet, I am unkind,
That from the nunnery
Of thy chaste breast and quiet mind
To war and arms I fly.
True, a new mistress now I chase,
The first foe in the field;
And with a stronger faith embrace
A sword, a horse, a shield.
Yet this inconstancy is such
As thou too shalt adore;
I could not love thee, dear, so much
Loved I not honor more.

Fusilier: This name is a designation for certain soldiers in the British army, dating back to
when special regiments were armed with fusils. The fusil is a light-weight flintlock musket.
Fusil is a French word which means “musket.” The French equivalent of the Fusilier is the
well-known Musketeer.

Cerberus: According to Greek mythology, the underworld kingdom of Hades was guarded
by the three-headed dog called Cerberus. The most famous story about the Guardian of
Hades centers on Hercules bringing Cerberus up from the underworld to the upper world.
This feat was one of the trials of Hercules, who obtained permission from Dis (Pluto) to do
so, as long as the hero could capture the dog without weapons.

Nonsense Poetry: “The Bough of Nonsense” is an example of nonsense verse. This genre
of poetry is a form of light verse, usually for children, depicting imaginative characters in
World War I British Poets / 19
amusing situations of fantasy, whimsical in tone and with a rhythmic appeal, often
employing fanciful phrases and meaningless made-up words. Of course, Robert Graves is
not writing for children.
20 / World War I British Poets
World War I British Poets
Lesson Eight
8.1 Vocabulary
benignant adj.
imperviousness n.
dolorous adj.
perfidy n.
8.2 Vocabulary Recognition
1. Especially among soldiers, ______________ cannot be permitted, because any breach of
trust would seriously jeopardize the lives of many men.
2. The lines at the front proved their _________________, even though the opposing armies
tried many times to break through the enemy’s defenses.
3. When news of the death of the popular young man was received, the small town
experienced a ___________ atmosphere for many weeks, imbued with sorrow.
4. As usual, when the mail arrived, like a ______________ tonic for the sick of heart, the
spirits of the soldiers revived.
8.3 Reading Assignment: World War One British Poets, pages 50–58
8.4 Recall Questions
1. In “Summer in England, 1914,” upon what kiss does the soldier die?
2. In “Channel Firing,” the dead wonders whether it was the Judgment Day. What does God
reply as the cause of the noise?
3. From the context, what is the meaning of the following line: “My neighbour Parson Thirdly
said, ‘I wish I had stuck to pipes and beer’”?
4. In “Song of the Soldiers,” what do the hearts of the soldiers believe regarding those who
win the war?
5. In “Belgium’s Destitute,” where does a country’s first duty lie?
6. In “Before Marching, and After,” who stood to win in the war?
7. What is the meaning in the line, “a quick comer / Brought tidings that marching was done”?
8. What is the overall meaning of “In Time of ‘The Breaking of Nations’”?
World War I British Poets / 21
9. In “Then and Now,” what is the complaint of the speaker?
10. What Biblical allusion is found in this poem, and why is it appropriate?
11. In “And There Was a Great Calm,” when the Sinister Spirit said the war was necessary,
what is the question asked by the Spirit of Pity?
8.5 Critical Thinking

Read “Summer in England, 1914” again. Does Meynell take out of context the Biblical
verse, “Greater love hath no man than this, that a man lay down his life for his
friends” (John 15:13)? From England’s view point, was the war one of self-defense or one
of conquest? Does it make a difference whether a soldier dies defending his family and his
land or whether he is forced by his government to fight in order to conquer another’s land?

In “Song of the Soldiers,” Hardy alludes to the old saying, “The winner writes the history.”
Is it always true that the victor had the just cause? Does winning a war prove that the victor
was right? Can you name instances where the powerful and winners of conflicts were in the
wrong?

George Washington and Thomas Jefferson warned Americans not to become entangled with
foreign alliances. How has ignoring this advice caused Americans to suffer during the
twentieth century?

Confederate General Nathan Bedford Forrest remarked, “War means fightin’, and fightin’
means killin’.” Can war be conducted in a gentlemanly way? Should civilians be included
as targets for destruction? Why or why not?
8.6 Bonus Thoughts

John Crowe Ransom: A graduate of Vanderbilt University, a professor at Vanderbilt and
Kenyon College, a Rhodes Scholar, an officer during World War I, and a Fugitive poet,
John Crowe Ransom was born in Pulaski, Tennessee, in 1888. As a professor at Vanderbilt,
Ransom exercised a direct influence on the lives of students like Allen Tate, Robert Penn
Warren, and Donald Davidson. Because he was well read in the classics, Ransom writes to a
modern world while standing comfortably (without embarrassment or apology) behind a
tradition of antiquity. Author, poet, critic—Ransom promoted the Southern agrarian cause
by trying “to recover the excellences of the ancient faith.” This faith was not only in
orthodox Christianity, which was taking a beating during the 1920s and 30s, but also in the
faith of the Southern culture. In his contribution to I’ll Take My Stand, “Reconstructed but
Unregenerate,” Ransom states unequivocally his thesis: “The South is unique on this
continent for having founded and defended a culture which was according to the European
principles of culture; and the European principles had better look to the South if they are to
be perpetuated in this country.” Of course, this thesis would be moot if the entire citizenry
of the American empire desires vagabondage instead of permanence, a love for money
instead of a love for God, and progress instead of tradition.

The American Role in World War I: The United States entry into the European conflict
was by no means supported unanimously throughout the American empire. The Wilson
administration arrested 1,500 persons who criticized the war effort. Many citizens believed
that the country had no business getting involved in the war. Indeed, when the Americans
22 / World War I British Poets
entered the conflict, the two European Alliances were ready to give up, because the war was
now a stalemate. Hostilities were ended for the most part; but as soon as the “Yanks” came,
the battles started all over. Instead of helping to end the war, Americans prolonged the
bloodshed and death. The result was still a draw with a signing of a cease fire, or armistice.

The Number of Soldiers Killed in World War I: The low number of deaths of Americans
is due to the fact that these troops fought only for about six months of actual fighting. The
other countries fought for over a period of four years.
Great Britain
France
Russia
Germany
Austria
United States
900,000
1,400,000
1,700,000
1,600,000
800,000
125,000

The Armistice: With negotiations having started in October, 1918, the armistice, which is
merely a truce to temporarily stop fighting, was signed on November 11, 1918. The
American commander, General Pershing, opposed the armistice. Indeed, Pershing wanted to
take the war to Germany and to defeat the Germans soundly. The fact that Germany
accepted the terms of the armistice only proved the Germans could not hope to win the war;
in fact no nation that thought it could win would have agreed to the terms. What the
armistice did was to create resentment on the part of the Germans, who knew that they did
not start the war, but were blamed for it. It would be just a matter of a few years before the
Germans would rise up for revenge.

Acceptable Losses: Donald Davidson, one of the Fugitive poets at Vanderbilt University,
who left his studies to become a lieutenant in the U.S. Army during World War I,
participated in the last battle of the war. Davidson records in his diary this unbelievable
incident that happened just days before the signing of the armistice. From the 7th to the 10th
of November, the 322nd and 324th U.S. Infantry were ordered to attack the German
positions across No-Man’s Land. The orders surprised everyone, because the armistice was
soon to be signed. In fact, the Germans were preparing to lay down their arms. When the
Americans advanced, the German soldiers had no alternative but to repel the attack. The use
of American soldiers was the brainchild of French Marshall Ferdinand Foch, who was the
commander in chief of the allied forces on the western front. Foch wanted to intimidate the
Germans in signing the armistice sooner. By the end of the day on the 10th of November,
400 American soldiers were killed.
World War I British Poets / 23
World War I British Poets
Lesson Nine
9.1 Vocabulary
myriad adj.
mercenary adj.
wantonness n.
rive v.
9.2 Vocabulary Recognition
1. The government’s own army could no longer be trusted to safeguard the leaders’ power
over the people; therefore, the president hired soldiers only ______________ in their loyalty
to money.
2. The ____________ dead littered the fields, a number so great that counting became a
horror.
3. The artillery shell ___________(d) the building with such destruction that the pieces were
small enough to carry by hand.
4. During their three-day pass, the soldiers behaved with such excessive carousing and
debauchery that even their commanding general was shocked by the ________________.
9.3 Reading Assignment: World War One British Poets, pages 59–65
9.4 Recall Questions
1. In “To the United States of America,” according to the speaker, what did the citizens of
Great Britain and the United States pledge to do?
2. What is the contrast between Shakespeare and Nelson in the last stanza of “Trafalgar
Square”?
3. In “Epitaph on an Army of Mercenaries,” according to the poet, what was the soldiers
defending?
4. In “The Mine-Sweepers,” with what time periods does the poet divide the poem?
5. In “‘For all we have and are’,” what is the only thing that will “bring us to our goal” of
victory?
6. What is the only task that everyone has to do?
7. In “The Choice,” who is the speaker?
8. According to the speaker, what is the choice made by the American people?
24 / World War I British Poets
9.5 Critical Thinking

Is it the role of any one nation “to work the world’s salvation”? Why or why not?

Does God abandon anything? Study the word “forsake” in the Bible. When does God
forsake someone? If God forsakes something, is it worth defending?

Kipling suggests that everyone must sacrifice during war. Does the Bible require anyone to
“sacrifice” himself or his children for the continuance of the State when his family and land
is not threatened? Is worship of the State the same as the worship of Molech? What does the
Bible teach about sacrificing one’s children to Molech, the totalitarian god?

Is there such a thing as an “American Spirit”? If there is, does it include the love for
freedom? If so, are we a free people, or slaves to money and materialism?
9.4 Bonus Thoughts

Lord Admiral Nelson: Without doubt, Viscount Horatio Nelson played a major role by
helping England to become ruler of the seas. As the son of Rev. Edmund and Catherine
Nelson, Horatio Lord Nelson is the most celebrated admiral in British history and the most
famous admiral at the time of the Napoleonic Wars. In 1770, at the age of 12 years, Lord
Nelson started his naval career. Eight years later, Nelson became a captain. His tactics
against the French and Spanish during the Battle of Trafalgar allowed Nelson and his fleet
to win. Nelson employed a daring and surprising plan by approaching the enemy from the
shore side. When the fighting had ended, this battle would be known as the greatest naval
victory in British history. On October 21, 1805, the British fleet was winning over the
Franco-Spanish fleet when Lord Nelson was killed by a French marksman. Today a statue
of the admiral stands on a tall column in the middle of Trafalgar Square in London. The
statue is considered to be one of the great man-made landmarks of the world.

Minelayers and Mine Sweepers: Naval mines have been used since the sixteenth century,
but it was not until World War I that they entered into a wider use. Modern naval mines,
equipped with sonar or magnetic sensors, are laid on the surface of the sea or sometimes
anchored just below the surface. The mines fall within two broad classifications—automatic
and controlled. As soon as it is planted and armed, the automatic mine is activated by the
presence of a ship; it is incapable of discriminating between friendly and enemy ships. On
the other hand, the controlled mine is connected by an electric cable to a shore station and
can be disarmed to allow the passage of friendly vessels. As an offensive weapon, mines are
placed in or near enemy harbors, generally by aircraft or submarine. Minesweepers are
employed as a countermeasure, often with wooden hulls to avoid magnetic mines. The
minesweepers work in pairs, dragging a
cable between the two ships in order to
snag the mines. Also, helicopters can
explode mines by towing sweeping
equipment while traveling at a safe
distance above the water. Minesweeping
is vital both during and after a conflict, as
thousands of active mines may still be
floating in shipping lanes. As recently as
the mid-1990s naval mines were
discovered off the coast of Malta; the
British laid these mines during World Minesweeper USS Woodcock (photo taken in 1919)
War II to sink German vessels.
World War I British Poets / 25
World War I British Poets
Lesson Ten
10.1 Vocabulary
chaunt v.
loath v.
perspective n.
noontide n.
10.2 Vocabulary Recognition
1. After being home for a month, the young soldier was ___________(ed) to leave his parents
and the peaceful surrounding in order to turn to his unit at the front.
2. The guns ______________(ed) a constant, monotonous song as if the soldiers were
participating in a choir during a perverse sort of religious mass.
3. Ironically, the ________________ of the heated battle when it turned in favor for the allies
was at 12 o’clock noon.
4. In order to fully understand the horrors of war, citizens need to have the _______________
of the poet who witnessed the destruction and horror, and not of those who sit comfortably
in their own homes far away from the strife.
10.3 Reading Assignment: World War One British Poets, pages 66–71
10.4 Recall Questions
1. In the first stanza of “The Fool Rings His Bells,” whom does the speaker address?
2. What question does Pity whisper?
3. Why does Death not listen to the Fool?
4. According to the poet in “How Sleep the Brave,” those who died for England believe their
deaths to be what?
5. In “Rouen,” how is morning characterized?
6. How is noontime characterized?
7. How is evening characterized?
26 / World War I British Poets
10.5 Critical Thinking

Is it true that all British soldiers believed if they died, they died for a worthy cause? Which
poets in this volume contradicts de la Mare’s “How Sleep the Brave”? Does receiving a
“government pension” suggest why de la Mare seems to support the war?

Compare and contrast “The Fool Rings His Bells” and “How Sleep the Brave.” Does de la
Mare hold different positions regarding the war in these two poems?

As a Christian, is it your duty to support governmental policies when those policies are
wrong? Should you support any war effort simply because the leaders and soldiers believe
“their cause to be just”? Why or why not?

In your opinion, does “Rouen” describe the mere cycle of life, or does it suggest life, death,
and resurrection? Support your answer from the poem.
10.6 Bonus Thoughts

Sentimentalism: May Wedderburn Cannan poem, “Rouen,” is a bit too sentimental. Some
critics consider sentimental verse—for example, the kind found in greeting cards—to not
even be poetry. Great poetry is the sharing of an experience, expressed in an uncommon
way. On the other hand, sentimentalism is the overuse of the emotion of an occasion or the
overindulging of sympathy or pity. In order to avoid sentimental writing, writers must not
depend upon any intense emotion and must express their feelings with a fresh rendering, not
rehashing what is commonplace and what have become trite cliches. Perhaps one the best
examples of pure sentimentalism in a longer work is Harriet Beecher Stowe’s Uncle Tom’s
Cabin.
World War I British Poets / 27
Glossary for World War I British Poets
anthology (²n-th¼l“…-j¶) n. A collection of literary pieces, such as poems, short stories, or plays.
athwart (…-thwôrt“) adv. From side to side; crosswise or transversely; so as to thwart, obstruct,
or oppose; perversely
benignant (b¹-n¹g“n…nt) adj. Favorable; beneficial; kind and gracious
chaunt (chônt) v. Variant of chant. To celebrate in song; to sing, especially in the manner of a
monotonous tone
dearth (dûrth) n. A scarce supply; a lack; shortage of food; famine
decadent (dμk“…-d…nt) adj. Being in a state of decline or decay; marked by or providing
unrestrained gratification; self-indulgent
decimation (dμs“…-m³-shun”) n. Selecting by lot and killing one in every ten of; destroying or
killing a large part of a group; to inflict great destruction or damage on
din (d¹n) v. To stun with deafening noise; to instill by wearying repetition
dolorous (d½“l…r-…s) adj. Marked by or exhibiting sorrow, grief, or pain
exacerbate (¹g-z²s“…r-b³t”) v. To increase the severity, violence, or bitterness of; aggravate
flinch (fl¹nch) v. To start or wince involuntarily; to recoil, as from something unpleasant or
difficult; shrink
founder (foun“d…r) v. To sink below the water; to cave in; sink; to fail utterly; collapse
gargantuan (gär-g²n“ch›-…n) adj. Of immense size, volume, or capacity; gigantic
haunt (hônt) n. A place much frequented
hone (h½n) v. To sharpen on a fine-grained whetstone; to perfect or make more intense or
effective
imperviousness (¹m-pûr“v¶-…s) n. Something incapable of being penetrated; something
incapable of being affected
impetus (¹m“p¹-t…s) n. An impelling force; an impulse; something that incites; a stimulus
incendiary (¹n-sμn“d¶-μr”¶) adj. Causing or capable of causing fire; tending to inflame;
inflammatory
lilt (l¹lt) n. A cheerful or lively manner of speaking, in which the pitch of the voice varies
pleasantly; a light, happy tune or song; a light or resilient manner of moving or walking
loath (l½th) adj. Unwilling or reluctant; disinclined
luscious (l¾sh“…s) adj. Sweet and pleasant to taste or smell; richly appealing to the senses or the
mind
melancholy (mμl“…n-k¼l”¶) adj. Affected with or marked by depression of the spirits; sad
mercenary (mûr“s…-nμr”¶) adj. Motivated solely by a desire for monetary or material gain
myriad (m¹r“¶-…d) adj. Constituting a very large, indefinite number; innumerable
noontide (n›n“tºd”) n. Midday; noontime; the highest point; the zenith
parry (p²r“¶) v. To deflect or ward off ; to deflect, evade, or avoid
perceive (p…r-s¶v“) v. To become aware of directly through any of the senses, especially sight or
hearing; to achieve understanding of; apprehend
perfidy (pûr“f¹-d¶) n. Deliberate breach of faith; calculated violation of trust; treachery
perspective (p…r-spμk“t¹v) n. A view or vista; a mental view or outlook; subjective evaluation of
relative significance; a point of view
pervade (p…r-v³d“) v. To be present throughout; permeate
28 / World War I British Poets
poignant (poin“y…nt) adj. Physically painful; keenly distressing to the mind or feelings;
profoundly moving; touching; piercing; incisive; neat, skillful, and to the point; pertinent;
relevant
posthumous (p¼s“ch…-m…s) adj. Occurring or continuing after one's death; published after the
writer’s death
precarious (pr¹-kâr“¶-…s) adj. Dangerously lacking in security or stability; subject to chance or
unknown conditions; based on uncertain, unwarranted, or unproved premises
precocious (pr¹-k½“sh…s) adj. Manifesting or characterized by unusually early development or
maturity, especially in mental aptitude
radiance (r³“d¶-…ns) n. Being filled with light; brilliance; glowing; beaming
rive (rºv) v. To rend or tear apart; to break into pieces, as by a blow; cleave or split asunder
rue (r›) n. Sorrow; regret
sardonic (sär-d¼n“¹k) adj. Scornfully or cynically mocking
serene (s…-r¶n“) adj. Unaffected by disturbance; calm and unruffled
wantonness (w¼n“t…n-n¹s) n. Immorality; lewdness; gratuitous cruelty; unprovoked, gratuitous
maliciousness; unrestrained excessiveness
World War I British Poets (Lessons 1-5)
Vocabulary Quiz #1
Instructions: Match the word with its definition.
A. decadent
D. radiant
G. rue
J. din
M. anthology
P. gargantuan
S. posthumous
B. serene
E. pervade
H. lilt
K. athwart
N. precocious
Q. hone
T. decimation
C. dearth
F. perceive
I. impetus
L. melancholy
O. sardonic
R. poignant
1. _____ to become aware of; to achieve understanding of; apprehend
2. _____ a collection of literary pieces, such as poems, short stories, or plays
3. _____ destroying a large part of a group; inflicting great destruction
4. _____ being filled with light; brilliant; glowing; beaming
5. _____ of immense size, volume, or capacity; gigantic
6. _____ a cheerful or lively manner of speaking; a happy tune or song
7. _____ occurring or continuing after one’s death
8. _____ an impelling force; an impulse; something that incites; a stimulus
9. _____ to perfect or make more intense or effective
10. _____ unaffected by disturbance; calm and unruffled
11. _____ from side to side; so as to thwart, obstruct, or oppose
12. _____ physically painful; keenly distressing; profoundly moving; touching
13. _____ to be present throughout; permeate
14. _____ scornfully or cynically mocking
15. _____ to stun with deafening noise; to instill by wearying repetition
16. _____ a state of decline or decay; unrestrained gratification; self-indulgent
17. _____ unusually early development or maturity
18. _____sorrow; regret
19. _____ affected with or marked by depression of the spirits; sad
20. _____ a scarce supply; a lack; famine
World War I British Poets (Lessons 6-10)
Vocabulary Quiz #2
Instructions: Match the word with its definition.
A. precarious
D. founder
G. haunt
J. imperviousness
M. myriad
P. rive
S. perspective
B. exacerbate
E. parry
H. luscious
K. dolorous
N. mercenary
Q. chaunt
T. noontide
C. incendiary
F. flinch
I. benignant
L. perfidy
O. wantonness
R. loath
1. _____ to sink below the water; to cave in; to fail; to collapse
2. _____ innumerable
3. _____ richly appealing to the senses or the mind
4. _____ a view or vista; a mental outlook; a point of view
5. _____ deliberate breach of faith; treachery
6. _____ causing or capable of causing fire; inflammatory
7. _____ unwilling or reluctant; disinclined
8. _____ favorable; beneficial; kind and gracious
9. _____ midday; the highest point; the zenith
10. _____ to start or wince involuntarily
11. _____ to sing, especially in the manner of a monotonous tone
12. _____ subject to chance; based on uncertain premises
13. _____ immorality; gratuitous cruelty; unrestrained excessiveness
14. _____ something incapable of being penetrated or affected
15. _____ to rend or tear apart; cleave or split asunder
16. _____ a place much frequented
17. _____ motivated solely by a desire for monetary or material gain
18. _____ to increase the severity, violence, or bitterness of; aggravate
19. _____ marked by or exhibiting sorrow, grief, or pain
20. _____ to deflect, evade, or avoid
Answer Keys to World War One British Poets
Vocabulary Recognition—Lesson 1
1. serene
2. radiant
3. dearth
4. decadent
Lesson 1
1. The only thing that can shake long peace is agony, but all agony has an ending (death).
2. The worst enemy on the battlefield is Death.
3. The things are wind, morning, tears, mirth, deep night, singing of birds, moving clouds,
sleep, freedom, and autumn.
4. The poet refers to death.
5. The “unhoped serene” is old age.
6. The five things were holiness, love, pain, honor, and nobleness.
7. “He” refers to “Frost” in line 11.
8. The poet refers to his body.
9. The store contains songs, flowers, sky, and faces.
Vocabulary Recognition—Lesson 2
1. pervade
2. rue
3. lilt
4. perceive
Lesson 2
1. The two countries are blind.
2. The dead cannot hear the praises.
3. The dead cannot see the tears.
4. The poet refers to the soldiers who were killed and who are now “sleeping” in death.
5. The soldiers are marching towards death.
6. The earth can absorb men’s blood and bodies, which represents their “gladness.” Gladness
implies life.
7. The earth receives the spent gladness from those who die.
8. The earth will echo the singing of the soldiers who had died.
Vocabulary Recognition—Lesson 3
1. impetus
2. melancholy
3. din
4. athwart
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Lesson 3
1. Nationalism is merely for pleasing newspapers, or in other words, making merchandise of
misery.
2. The citizen trusts that his nation is good, and therefore, he must hate its enemies.
3. The poet heard the train hissing, someone clearing his throat, and a blackbird singing.
4. The music from drums and fifes (“The British Grenadiers”) pierces the silence.
5. The soldier was a plowman (a farmer).
6. The private is dead and was buried in an unmarked grave in France.
7. A large elm tree fell into the field, and the farmer had not yet removed it.
8. The poet states that he could spare an arm, but not a leg.
9. One of the farmer’s partners was killed in the war.
Vocabulary Recognition—Lesson 4
1. gargantuan
2. precocious
3. anthology
4. sardonic
Lesson 4
1. The sound of the singing of the larks is difficult to hear during the fighting.
2. A rat bites the speaker’s hand.
3. The artillery bombardment is tearing up the field of poppies.
4. The speaker places the poppy behind his ear.
5. The soldier lit his shirt on fire.
6. The men would squash the lice between their fingers whenever they found them.
7. Death could as easily have dropped.
8. The bee is a bullet.
9. Some of the soldier’s brains splattered on the bearer’s face.
10. The soldier is trampled on by mules.
Vocabulary Recognition—Lesson 5
1. poignant
2. hones
3. posthumous
4. decimation
Lesson 5
1. Bullets long to nuzzle in the hearts of young men.
2. The stones are redder (stained with blood).
3. Love is given eyes, an attitude, a voice, a heart, and a hand.
4. Dullness solves the “tease and doubt” of being killed by a shell.
5. The soldier must lose his imagination.
6. A dying soldier who did not don his gas mask in time plunges at the speaker.
7. The fingers go through the hair of the soldier, reminding him of the murders he witnessed.
8. The sun is incapable of waking up a dead soldier, even though it can do so with the seeds.
9. The young man liked to see blood on his leg whenever he played football (soccer).
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10. The young men die like cattle in a slaughter house.
11. There are at least two ironies. The “enemy” calls his killer a friend, and the killer is killed
himself later and goes to the same place as his enemy.
12. Life is more absurd than death.
13. Heaven is “the highway for a shell,” and hell is “the trembling of a flare.”
Vocabulary Recognition—Lesson 6
1. incendiary
2. founder
3. precarious
4. exacerbate
Lesson 6
1. The speaker shoots at darkness.
2. The red, wet thing is the wounded body of the dead soldier.
3. If he died, then his mother would be able to go to sleep without fearing what could happen
to her son.
4. The soldier had “pay to spend.”
5. His boots were rotting.
6. The soldier gives no reason for the continuance of the war, because “he don’t know why.”
7. The flare revealed “nibble rats” and “mounds of glimmering sand-bags.”
8. “The ways of God are strange.”
9. The man can now enjoy the peace and quiet of country life rather than the death and
destruction of war.
10. The soldiers murder the hours.
11. Most of the men who went to the front lines did not return.
12. The jolly company are books.
13. The speaker refers to a moth.
14. The speaker is awaken out of a death-like sleep (a type of resurrection) and now he is wideawake, while another sleeps (in death).
Vocabulary Recognition—Lesson 7
filch
parry
luscious
haunt
Lesson 7
1. The speaker states that pride is what sends him to war.
2. David did not have the help of God, whose “eyes are dim, His ears are shut.”
3. God is called the Intolerable Good.
4. The writer details the places that he and his friends will visit after the war is over.
5. The certain cure is seeing a dead soldier who has been left outside for days.
6. Wars never change except for their names.
7. The speaker escapes from death.
8. The speaker feeds Cerberus an “army biscuit smeared with ration jam.”
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9. The two men compose a hymn of nonsense.
10. The foes claimed that they killed the speaker’s pride.
11. The speaker is awakened by the announcement that the enemy is attacking again (last three
lines).
Vocabulary Recognition—Lesson 8
1. perfidy
2. imperviousness
3. dolorous
4. benignant
Lesson 8
1. The soldier dies upon the kiss of Christ.
2. The noise is from gunnery practice at sea.
3. Since the nations have not learned to live peacefully in Christ, then the parson’s efforts were
a waste of time.
4. The victors had the just cause, and the defeated were in the wrong.
5. A first duty of a country is to ensure tranquillity nearest to its shores.
6. Death stood to win in the war.
7. A messenger brought the announcement that the poet’s friend was dead.
8. Even though wars and nations come and go, daily life will continue regardless of the
destruction and confusion.
9. The speaker complains that warfare used to have a code of honor, but now there is no honor
in warfare.
10. The allusion is Herod’s having the children killed in Bethlehem after the wise men failed to
return to Jerusalem. The allusion is appropriate because as Herod had the innocent children
indiscriminately killed, torpedoes and bombs kill innocent children as well.
11. Pity asks, “Why?”
Vocabulary Recognition—Lesson 9
1. mercenary
2. myriad
3. rive
4. wantonness
Lesson 9
1. The citizens are pledged to win the rights of man.
2. Shakespeare represents a peacefully time and the quiet country; Nelson represents war,
hardness, and alienation with the ugliness of the city.
3. The soldiers were defending things that God had abandoned.
4. The poet divides the poem in three stanzas: morning (dawn), noon, and evening (sunset).
5. The thing that will achieve the goal of victory is “iron sacrifice / Of body, will, and soul.”
6. Everyone has to give his life.
7. The speaker is the “American Spirit.”
8. The choice was to hazard physical death rather than spiritual death.
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Vocabulary Recognition—Lesson 10
1. loath
2. chaunt
3. noontide
4. perspective
Lesson 10
1. The speaker addresses Death, Innocency, Love, and Pity.
2. Pity whispers “Why?”
3. According to the Fool, Death has no ears.
4. The soldier’s death was glorified.
5. Morning is fresh, hopeful, brave, and adventurous.
6. Noon is busy with a lot of activity.
7. Evening is busy, but in a quiet way. There are many departures which suggest the dying of
many.
World War I
British Poets
Quiz #1
1. F
2. M
3. T
4. D
5. P
6. H
7. S
8. I
9. Q
10. B
11. K
12. R
13. E
14. O
15. J
16. A
17. N
18. G
19. L
20. C
World War I
British Poets
Quiz #2
1. D
2. M
3. H
4. S
5. L
6. C
7. R
8. I
9. T
10. F
11. Q
12. A
13. O
14. J
15. P
16. G
17. N
18. B
19. K
20. E
5
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